John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, a scholarly man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost.
Areopagitica
Read by Moira Fogarty
Running Time:2:01:05 in 1 MP3 Audio CD
A prose tract or polemic by John Milton, published November 23, 1644, at the height of the English Civil War... Milton, though a supporter of the Parliament, argued forcefully against the Licensing Order of 1643, noting that such censorship had never been a part of classical Greek and Roman society. The tract is full of biblical and classical references which Milton uses to strengthen his argument. The issue was personal for Milton as he had suffered censorship himself in his efforts to publish several tracts defending divorce (a radical stance at the time and one which met with no favor from the censors)... Areopagitica is among history's most influential and impassioned philosophical defenses of the principle of a right to free speech.
Milton's Minor Poems
Read by Thomas A. Copeland
Running Time:03:56:26 in 1 MP3 Audio CD
“On Shakespear 1630” typifies much of Milton’s poetry. By some miracle never yet explained, at age 24 he managed to get a 16-line encomium included in the Second Folio of the Bard’s collected works, 1632. Quite a coup! And this brand new M.A., never before published, used this brief poem to contradict Shakespeare’s chief rival, the great Ben Jonson, whose 80-line panegyric had graced the First Folio eleven years earlier. Jonson had said that Shakespeare’s monument was this living book, but Milton says, no, it is rather the readers who, stunned by the poet’s verse, become living statues in his honor.
You will find the same audacity here in the minor poems as in Paradise Lost, which treats of “things unattempted yet in prose of rime.” You can hear it in the college student’s satirical invitation (likely to the classmate next on the program) “Rivers arise . . . ,” a travesty of the epic catalogue of rivers; and in his affectionately irreverent epitaph on Hobson (of “Hobson’s choice”), the stage coach driver for the boys of Cambridge; and again in a second epitaph on the same subject but offering a shameless burlesque of “Metaphysical” conceits. Even in his paraphrase of Psalm VII, where he takes issue with the King James Version on two points of grammar at the end of the second stanza, he is clearly the man who will write “How few sometimes may know, when thousands err.”
Yet for all Milton’s iconoclasm, he knows discipline. Some of the later sonnets undertake topics, express attitudes, and employ metrical devices which, by straining the delicate sonnet form almost—but not quite—to the breaking point, create such power as was never before borne by any sonnet. Such is the power of poetic discipline wedded to poetic genius.
But it is in “Lycidas” that Milton faces the ultimate test of inspiration vs. authority. He piles into the poem every known convention of the pastoral elegy form and even drags in by the heels St. Peter, who, as father of the Church, was a pastor, and these provide the cage within which he must work. Yet he brings them to life with such convincing shifts of sentiment—blaming, wishful thinking, savage resentment, brave facing of the truth, and finally acceptance—that they cease to be confining; sincerity transmutes his cage into his language, sincerity belying artifice.
Paradise Lost
Read by Thomas A. Copeland
Running Time:10:59:21 in 1 MP3 Audio CD
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the fall of man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden.
Paradise Regained
Read by Thomas A. Copeland
Running Time:2:00:09 in 1 MP3 Audio CD
Having been publicly acknowledged as God's "beloved Son," Jesus retires to the desert to meditate upon what it means to be the Messiah, about whose coming many conflicting opinions have been circulating among the Jews. Although a learned rabbi, Jesus possesses no knowledge beyond what is available to all human beings. Satan also takes a new interest in this favored "son of God" and seeks to learn what threat he constitutes. The poem consists of a debate between these two adversaries, each seeking the same understanding of precisely what mankind's Savior will do in a world where the way to success typically lies through "wealth . . . honor . . . arms . . . arts . . . Kingdom . . . Empire . . . life contemplative, / Or active, tended on by glory, or fame." By withstanding Satan's temptation to all such worldly paths, Jesus proves himself to be a perfect, unfallen man and consequently worthy to win back paradise for mankind. Repeatedly invited to take action—either to secure his kingdom or to prove himself deserving of the divine favor that has been shown him or simply to save his life—he resists, patiently suffering, withstanding, waiting. Yet he learns from his temptation, clarifying in his own mind what his mission on earth must be and the means to achieve it. For although Satan knows no more of his mission than he does himself, Satan points the way by offering the wrong goals or the wrong motives or the wrong means. Thus the Father of Lies against his will opens the way to salvation for human kind.
Samson Agonistes
Read by Martin Geeson
Running Time:2:37:52 in 1 MP3 Audio CD
“The Sun to me is dark
And silent as the Moon,
When she deserts the night
Hid in her vacant interlunar cave.”
Milton composes his last extended work as a tragedy according to the classical Unities of Time, Place and Action. Nevertheless it “never was intended for the stage” and is here declaimed by a single reader.
Samson the blinded captive, in company with the Chorus of friends and countrymen, receives his visitors on their varying missions and through them his violent story is vividly recalled. Then he is summoned to give a final demonstration of God-given strength to entertain the Philistines, his captors. Famously – and of course, offstage – his performance brings the house down.
The History of Britain
Read by Thomas A. Copeland
Running Time:11:58:02 in 1 MP3 Audio CD
A reader of this history, encountering the frequent references to “my author,” meaning the current source, will be reminded of DON QUIXOTE and of THE MORTE D'ARTHUR, for Milton employs a style that might be called dissertational rather than novelistic; he carefully identifies his sources and often quotes from them. However, much of the scholarly documentation has been omitted from the reading—all except footnotes indicating the years—to avoid cumbersome interruptions.
What will be obvious to a listener, though, is that Milton uses earlier chronicles with discretion. He doubts the very existence of Arthur and proposes an ingenious explanation of the origin of his supposed father's name, Uther. When obliged to cite George Buchanan, the world-renowned neo-Latin author and tutor (later detractor) of Mary Queen of Scots, he regularly uses more than a grain of salt, in view of that scholar’s Scottish bias.
And as he carefully weighs the reliability of his sources, so he offers his candid opinion of the wisdom and integrity of historical figures. He sneers at the story of King Canute’s famously commanding the rising tide of waves to retire, but not for the reason one might suppose. Boadicea gets low marks, Alfred high ones—but not without some reservations. And in a long digression comparing the government of Britain, newly freed from Roman domination, to the British republic under Cromwell (for which, as Secretary of the Foreign Tongues, Milton was the voice), his criticism is so frank and savage that the passage had to be suppressed during his lifetime. Such personal opinions are what make this book entertaining and useful for the serious study of the author’s thought and personality.
The endearingly affectionate life of the author, written by his elder nephew, Edward Philips, offers much first-hand information although its facts are not always accurate and its coverage spotty. One learns nothing, for example, about Milton’s visit to the home of Galileo, but Philips's discussion of the role his cousins played in their father’s scholarly pursuits is detailed and affords no basis to the myth that he ever dictated his poetry to his daughters.